3 items from 2016
The line-up for this year’s Alice In The City (Alice nella Citta) – the sidebar dedicated to younger generations at Rome Film Festival (Oct 13-23) – has been revealed.
Now in its 14th edition, the event will present a total of 42 titles across five programmes.
The Competition Young/Adult programme will screen films including Matt Ross’s Captain Fantastic, which premiered in Cannes, Taika Waitit’s Hunt For The Wilderpeople, New Zealand’s highest-grossing local film, and Travis Knight’s Kubo And The Two Strings. A 27-strong jury aged 14-18 will select a winner from the 12-strong line-up.
The Alice Panorama programme will feature ten titles including Bertrand Bonello’s Nocturama [pictured], which recently played at Toronto International Film Festival, Daniel Kwan and Daniel Scheinert’s Sundance premiere Swiss Army Man, with Daniel Radcliffe and Paul Dano, and [link=nm »
- firstname.lastname@example.org (Tom Grater)
Following in the footsteps of literature, cinema has cultivated a long and rich – and some would say tired – tradition of targeting the bourgeoisie and its manifold ills. Quebecois critic-turned-director and international festival fixture Denis Côté, whose previous films centered on working-class types and petty criminals, makes a contribution to the lot with Boris Without Beatrice, his ninth feature. To his own disservice, he’s made a film conspicuously similar to Pier Paolo Pasolini’s Teorema, one of the absolute finest specimen of cinematic bourgeois evisceration and one against which Côté’s film, perhaps inevitably, measures rather poorly.
Instead of a whole family, Boris Without Beatrice focuses on a single protagonist: Boris Malinovsky (James Hyndman), an extremely wealthy factory owner whose wife, Beatrice (Simone Élise-Gerard), suffers from melancholia so acute that she’s near catatonic. And in lieu of Terrence Stamp’s blue-eyed sex angel, Côté’s recruited the far-from-ethereal Denis Lavant »
- Giovanni Marchini Camia
Les belles manièresJean-Claude Guiguet’s Les belles manières (1978) is a beautiful film, but, more to the point, it is one that has taken beauty as its subject. Not content with merely exemplifying, or with setting itself the all-too-easy task of finding beauty in the world, it is a film about feeling beauty, about the effects and significance of an adored object, the whys and hows of it. The setting for this investigation is neither here nor there: a grande-bourgeois apartment enveloped in curtains, dark wood, and the comforting presence of family heirlooms, the precious as well as the worthless. It is a space resignedly past decadence, one which has dried out, but that has preserved some of the aroma of its past. A woman and her son live there. The son, overcome with apathy, has become an anchorite; in hopes of luring him out, and to lend an occasional hand with the housework, »
- Bingham Bryant
3 items from 2016
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